Dark night van gogh. Starry Night by Van Gogh

According to the paintings of Vincent van Gogh, it is quite easy to trace the history of the artist’s illness: from gray plots gravitating towards realism to bright, floating motifs, where both hallucination and oriental images fashionable at that time were mixed.

The Starry Night is one of Van Gogh's most recognizable paintings. Night is the time of the artist. Getting drunk, he rowdy and forgot himself in revelry. But he could also go melancholy to the open air. “I still need religion. Therefore, I left the house at night and began to draw stars, ”Vincent wrote to his brother Theo. What did Van Gogh see in the night sky?

Plot

Night enveloped the imaginary city. In the foreground are cypresses. These trees, with their gloomy dark green foliage, in ancient tradition symbolized sadness, death. (It is no coincidence that cypress trees are often planted in cemeteries.) In the Christian tradition, cypress is a symbol of eternal life. (This tree grew in the Garden of Eden and, presumably, Noah's Ark was built from it.) In Van Gogh, the cypress plays both roles: it is the sadness of the artist, who will soon commit suicide, and the eternity of the run of the universe.

To show movement, to give dynamics to the frozen night, Van Gogh came up with a special technique - drawing the moon, stars, sky, he put strokes in a circle. This, combined with color transitions, gives the impression that the light is spilling.

Context

Vincent painted the picture in 1889 in the Saint-Paul hospital for the mentally ill in Saint-Remy-de-Provence. It was a period of remission, so Van Gogh asked to go to his studio in Arles. But the residents of the city signed a petition demanding that the artist be expelled from the city. “Dear Mayor,” the document says, “we the undersigned would like to draw your attention to the fact that this Dutch artist (Vincent van Gogh) has lost his mind and drinks too much. And when he gets drunk, he sticks to women and children. Van Gogh will never return to Arles.

Drawing en plein air at night fascinated the artist. The depiction of color was of paramount importance to Vincent: even in letters to his brother Theo, he often describes objects using different colors. Less than a year before The Starry Night, he wrote The Starry Night Over the Rhone, where he experimented with rendering the shades of the night sky and artificial lighting, which was new at the time.

The fate of the artist

Van Gogh lived 37 troubled and tragic years. Growing up as an unloved child, who was perceived as a son who was born instead of an older brother who died a year before the birth of a boy, the severity of his father-pastor, poverty - all this affected Van Gogh's psyche.

Not knowing what to devote himself to, Vincent could not finish his studies anywhere: either he quit, or he was expelled for violent antics and a sloppy look. Painting was an escape from the depression Van Gogh faced after failing with women and failing to build a career as a dealer and missionary.

Van Gogh also refused to study as an artist, believing that he could master everything on his own. However, it was not so easy - Vincent never learned to draw a person. His paintings attracted attention, but were not in demand.

Prisoner's Walk, 1890

Disappointed and saddened, Vincent left for Arles with the intention of creating a "Workshop of the South" - a kind of fraternity of like-minded artists working for future generations. It was then that Van Gogh's style took shape, which is known today and the artist himself described it as follows: "Instead of trying to accurately depict what is before my eyes, I use color more arbitrarily, so as to express myself most fully."

In Arles, the artist lived a binge in every sense. He wrote a lot and drank a lot. Drunken fights frightened the locals, who eventually even asked to expel the artist from the city.

In Arles, the famous incident with Gauguin also occurred, when, after another quarrel, Van Gogh attacked a friend with a razor in his hands, and then, either as a sign of repentance, or in another attack, he cut off his earlobe. All circumstances are still unknown. However, the day after this incident, Vincent was taken to a hospital, and Gauguin left. They didn't meet again.

The last 2.5 months of his torn life, Van Gogh painted 80 paintings. And the doctor did think that Vincent was all right. But one evening he closed himself and did not go out for a long time. The neighbors, who suspected something was wrong, opened the door and found Van Gogh shot through the chest. It was not possible to help him - the 37-year-old artist died.

The Starry Night was painted in 1889 and today is one of Van Gogh's most recognizable paintings. Since 1941, this work of art has been located in New York, in the famous Museum of Modern Art. Vincent van Gogh created this painting in San Remy on a traditional 920x730mm canvas. "Starry Night" is written in a rather specific style, so for optimal perception it is better to look at it from afar.

Stylistics

This painting depicts a landscape at night, which has passed through the "filter" of the artist's creative vision. The main elements of the "Starry Night" are the stars and the moon. It is they who are depicted most pronouncedly and in the first place attract attention. In addition, Van Gogh used a special technique to create the moon and stars, which makes them look more dynamic, as if they are constantly moving, carrying a bewitching light through the limitless starry sky.

In the foreground of the Starry Night (left), tall trees (cypresses) are depicted, which stretch from the earth to the sky and stars. They seem to want to leave the firmament and join the dance of the stars and the moon. To the right of the picture is an unremarkable village, which lies at the foot of the hills in the stillness of the night, it is indifferent to the radiance and rapid movement of the stars.

General execution

In general, when considering this picture, one can feel the virtuoso work of the artist with color. At the same time, the expressive distortion is quite well matched with the help of a unique technique of strokes and a combination of colors. There is also a balance of light and dark tones on the canvas: at the bottom left, dark trees compensate for the high brightness of the yellow moon, which is located in the opposite corner. The main dynamic element of the picture is a spiral curl almost in the middle of the canvas. It gives dynamics to each element of the composition, it is also worth noting that the stars and the moon seem to be more mobile than the rest.

"Starry Night" also has a stunning depth of display space, which is achieved through the competent use of strokes of different sizes and directions, as well as the overall color combination of the picture. Another factor that helps create depth in a painting is the use of objects of different sizes. So, the town is far away and it is small in the picture, and the trees are the opposite - they are small compared to the village, but are located close and therefore they take up quite a lot of space in the picture. The dark foreground and the light moon in the background are a tool for creating depth with color.

The painting is more of a pictorial style than a linear one. This is due to the fact that all elements of the canvas are created using strokes and color. Although when creating the village and the hills, Van Gogh applied contour lines. Apparently, such linear elements were used in order to emphasize the difference between objects of earthly and heavenly origin as best as possible. Thus, Van Gogh's image of the sky turned out to be extremely picturesque and dynamic, and the village and hills - more calm, linear and measured.

In "Starry Night" color prevails, while the role of light is not so noticeable. The main sources of illumination are the stars and the moon, this can be determined by the reflections that are located on the buildings of the town and trees at the foot of the hills.

History of writing

The painting "Starry Night" was painted by Van Gogh during the period of treatment in the hospital of Saint-Remy. At the request of his brother, Van Gogh was allowed to paint if his health improved. Such periods arose quite often, and during this time the artist painted a number of paintings. "Starry Night" is one of them, and it is interesting that this picture was created from memory. This method was used by Van Gogh quite rarely and not typical of this artist. If we compare "Starry Night" with the early works of the artist, we can say that it is a more expressive and dynamic creation of Van Gogh. However, after it was written, the coloring, emotional load, dynamics and expression on the artist's canvases only increased.

Vincent van Gogh's "Starry Night" is considered by many to be the pinnacle of expressionism. It is curious that the artist himself considered it an extremely unsuccessful work, and it was written at the time of the master's mental discord. What is so unusual in this canvas - let's try to figure it out further in the review.

1. “Starry night” Van Gogh wrote in a mental hospital

The moment of creating the picture was preceded by a difficult emotional period in the life of the artist. A few months earlier, Van Gogh's friend Paul Gauguin had come to Arles to exchange paintings and experiences. But a fruitful creative tandem did not work out, and after a couple of months the artists finally quarreled. In the heat of emotional distress, Van Gogh cut off his earlobe and took it to a brothel to the prostitute Rachel, who favored Gauguin. So they did with a bull defeated in a bullfight. The matador got the severed ear of the animal.

Gauguin left soon after, and Van Gogh's brother Theo, seeing his condition, sent the unfortunate man to the hospital for the mentally ill in Saint-Remy. It was there that the expressionist created his famous painting.

2. "Starry night" is not a real landscape

Researchers are trying in vain to figure out which constellation is depicted in Van Gogh's painting. The artist took the plot from his imagination. Theo agreed at the clinic that a separate room was allocated for his brother, where he could create, but the mentally ill was not allowed out into the street.

3. Turbulence is depicted in the sky

Either the heightened perception of the world, or the sixth sense that opened it, forced the artist to depict turbulence. At that time, eddy currents could not be seen with the naked eye.

Although 4 centuries before Van Gogh, another brilliant artist Leonardo da Vinci depicted a similar phenomenon.

4. The artist considered his painting extremely unsuccessful

Vincent van Gogh believed that his "Starry Night" was not the best canvas, because it was not painted from life, which was very important to him. When the painting came to the exhibition, the artist rather disparagingly said about it: "Maybe she'll show others how to do better night effects than I did.". However, for the expressionists, who believed that the most important thing is the manifestation of feelings, "Starry Night" has become almost an icon.

5 Van Gogh Created Another Starry Night

There was another "Starry Night" in the Van Gogh collection. The stunning landscape cannot leave anyone indifferent. The artist himself, after creating this picture, wrote to his brother Theo: Why can't the bright stars in the sky be more important than the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, so we die to get to the stars.”.

Today, the works of this artist cost fabulous money, but

Plot

Night enveloped the imaginary city. In the foreground are cypresses. These trees, with their gloomy dark green foliage, in ancient tradition symbolized sadness, death. (It is no coincidence that cypress trees are often planted in cemeteries.) In the Christian tradition, cypress is a symbol of eternal life. (This tree grew in the Garden of Eden and, presumably, Noah's Ark was built from it.) In Van Gogh, the cypress plays both roles: it is the sadness of the artist, who will soon commit suicide, and the eternity of the run of the universe.

Self-portrait. Saint-Remy, September 1889

To show movement, to give dynamics to the frozen night, Van Gogh came up with a special technique - drawing the moon, stars, sky, he put strokes in a circle. This, combined with color transitions, gives the impression that the light is spilling.

Context

Vincent painted the picture in 1889 in the Saint-Paul hospital for the mentally ill in Saint-Remy-de-Provence. It was a period of remission, so Van Gogh asked to go to his studio in Arles. But the residents of the city signed a petition demanding that the artist be expelled from the city. “Dear Mayor,” the document says, “we the undersigned would like to draw your attention to the fact that this Dutch artist (Vincent van Gogh) has lost his mind and drinks too much. And when he gets drunk, he sticks to women and children. Van Gogh will never return to Arles.

Drawing en plein air at night fascinated the artist. The depiction of color was of paramount importance to Vincent: even in letters to his brother Theo, he often describes objects using different colors. Less than a year before The Starry Night, he wrote The Starry Night Over the Rhone, where he experimented with rendering the shades of the night sky and artificial lighting, which was new at the time.

"Starry night over the Rhone", 1888

The fate of the artist

Van Gogh lived 37 troubled and tragic years. Growing up as an unloved child, who was perceived as a son born instead of an older brother who died a year before the birth of a boy, the severity of his father-pastor, poverty - all this affected Van Gogh's psyche.

Not knowing what to devote himself to, Vincent could not finish his studies anywhere: either he quit, or he was expelled for violent antics and a sloppy look. Painting was an escape from the depression Van Gogh faced after failing with women and failing to build a career as a dealer and missionary.

Van Gogh also refused to study as an artist, believing that he could master everything on his own. However, it was not so easy - Vincent never learned to draw a person. His paintings attracted attention, but were not in demand. Disappointed and saddened, Vincent left for Arles with the intention of creating the "Workshop of the South" - a kind of fraternity of like-minded artists working for future generations. It was then that Van Gogh's style took shape, which is known today and the artist himself described it as follows: "Instead of trying to accurately depict what is before my eyes, I use color more arbitrarily, so as to express myself most fully."

, 1890

In Arles, the artist lived a binge in every sense. He wrote a lot and drank a lot. Drunken fights frightened the locals, who eventually even asked to expel the artist from the city. In Arles, the famous incident with Gauguin also occurred, when, after another quarrel, Van Gogh attacked a friend with a razor in his hands, and then, either as a sign of repentance, or in another attack, he cut off his earlobe. All circumstances are still unknown. However, the day after this incident, Vincent was taken to a hospital, and Gauguin left. They didn't meet again.

The last 2.5 months of his torn life, Van Gogh painted 80 paintings. And the doctor did think that Vincent was all right. But one evening he closed himself and did not go out for a long time. The neighbors, who suspected something was wrong, opened the door and found Van Gogh shot through the chest. He failed to help - the 37-year-old artist died.

"I still passionately need - I will allow myself this word - in religion. Therefore, I left the house at night and began to draw stars," Van Gogh wrote to his brother Theo.

It is worth going to New York at least for the sake of meeting her, with Van Gogh's Starry Night.

Here I want to give the text of my work on the analysis of this picture. Initially, I wanted to rework the text so that it is more in line with the article for the blog, but due to failures in the Word and lack of time, I will post it in its original form, which was hardly restored after the program crashed. I hope even the original text will be at least somewhat interesting.

Vincent Van Gogh(1853-1890) - a prominent representative of post-impressionism. Despite the difficult life path and the rather late formation of Van Gogh as an artist, he was distinguished by perseverance and diligence, which helped him achieve great success in mastering the technique of drawing and painting. In the ten years of his life devoted to art, Van Gogh went from an experienced viewer (he began his career as an art dealer, so he was familiar with many works) to a master of drawing and painting. This short period became the most vivid and emotional in the life of the artist.

The personality of Van Gogh is shrouded in mystery in the representation of modern culture. Although Van Gogh left a great epistolary legacy (extensive correspondence with his brother Theo van Gogh), descriptions of his life were compiled much later than his death and often contained fictional stories and distorted attitudes towards the artist. In this regard, there was an image of Van Gogh as a crazy artist who cut off his ear in a fit, and later shot himself completely. This image attracts the viewer with the secret creativity of the crazy artist, balancing on the verge of genius and madness and mystery. But if we examine the facts of Van Gogh's biography, his detailed correspondence, then many myths, including those about his madness, are debunked.

Van Gogh's work became available to the general public only after his death. At first, his work was attributed to different areas, but later they were included in post-impressionism. Van Gogh's handwriting is unlike anything else, so even with other representatives of post-impressionism it cannot be compared. This is a special way of applying a stroke, using different stroke techniques in one work, a certain color, expression, compositional features, means of expression. It is this characteristic style of Van Gogh that we will analyze using the example of the painting "Starry Night" in this work.

Formal stylistic analysis

The Starry Night is one of Van Gogh's most famous works. The painting was painted in June 1889 in Saint-Remy, since 1941 it has been kept at the Museum of Modern Art in New York. The picture is painted in oil on canvas, dimensions - 73x92 cm, the format is a horizontally elongated rectangle, this is an easel painting. Due to the peculiarity of the technique, the picture should be viewed at a sufficient distance.

Looking at the picture, we see a night landscape. Most of the canvas is occupied by the sky - the stars, the moon, large depicted on the right, and the night sky in motion. On the right in the foreground, trees rise, and on the left below is a town or village hidden in the trees. The background is dark hills on the horizon line, gradually becoming higher from left to right. The picture, based on the described plot, undoubtedly belongs to the landscape genre. We can say that the artist brings to the fore the expressiveness and some conventionality of the depicted, since the main role in the work is played by expressive distortion (color, in the technique of strokes, etc.).

The composition of the picture as a whole is balanced - on the right, dark trees below, and on the left, a bright yellow moon above. Because of this, the composition tends to be diagonal, including because of the hills increasing from right to left. In it, the sky prevails over the earth, as it occupies most of the canvas, that is, the upper part prevails over the lower. At the same time, there is also a spiral structure in the composition, which gives the initial impetus to the movement, expressed in a spiraling stream in the sky in the center of the composition. This spiral sets in motion both part of the trees, and the stars, and the rest of the sky, the moon, and even the lower part of the composition - the village, trees, hills. Thus, the composition from the statics familiar to the landscape genre turns into a dynamic, fantastic plot that captures the viewer. Therefore, in the work it is impossible to single out the background and clear planning. The traditional background, the background, ceases to be a background, as it is included in the overall dynamics of the picture, and the foreground, if we take the trees and the village, being included in the movement in a spiral, ceases to stand out. The planness of the picture is vague and unsteady due to the combination of spiral and diagonal dynamics. Based on the compositional solution, it can be assumed that the artist's angle of view is directed from bottom to top, since most of the canvas is occupied by the sky.

Undoubtedly, in the process of perceiving a picture, the viewer is involved in interaction with the image. This is obvious from the described compositional solution and techniques, that is, the dynamics of the composition and its direction. And also thanks to the color scheme of the picture - the color scheme, bright accents, the palette, the technique of applying strokes.

Deep space is created in the picture. This is achieved due to the color solution, composition and movement of strokes, the difference in the size of strokes. Including due to the difference in the size of the depicted - large trees, a small village and trees near it, smaller hills on the horizon, a large moon and stars. The color solution builds depth due to the dark foreground of the trees, the muted colors of the village and the trees around it, the bright color accents of the stars and the moon, the dark hills on the horizon, set off by the light strip of the sky.

The picture does not largely meet the criterion linearity, and most expresses just picturesqueness. Since all forms are expressed through color and strokes. Although in the image of the lower plan - the town, trees and hills, the distinction is made by separate contour dark lines. It can be said that the artist deliberately combines some linear aspects in order to emphasize the difference between the upper and lower planes of the picture. Therefore, the upper plan, the most important compositionally, in terms of meaning and in terms of color and technical solutions, is the most expressive and picturesque. This part of the picture is literally sculpted with color and strokes, it lacks contour or any linear elements.

Concerning flatness and depths, then the picture gravitates towards depth. This is expressed in the color scheme - contrasts, darker or smoky shades, in technology - due to the different direction of strokes, their sizes, in composition and dynamics. At the same time, the volume of objects is not clearly expressed, as it is hidden by large strokes. Volumes are only outlined by separate contour strokes or are created by color combinations of strokes.

The role of light in the picture is not significant in comparison with the role of color. But we can say that the light sources in the picture are the stars and the moon. This can be traced by the lightening of the settlement and the trees in the valley and the darker part of the valley on the left, by the dark trees in the foreground and the hills darkening on the horizon, especially located on the right under the moon.

The silhouettes of the depicted are closely related to each other. They are inexpressive due to the fact that they are written in large strokes, for the same reason the silhouettes are not valuable in themselves. They cannot be taken separately from the entire canvas. Therefore, we can talk about the desire for integrity within the picture, achieved by technology. In this regard, we can talk about the generalization of what is depicted on the canvas. There is no detail due to the scale of the depicted (far located, therefore, small towns, trees, hills) and the technical solution of the picture - drawing with large strokes, dividing the depicted into separate colors with such strokes. Therefore, it cannot be said that the picture conveys a variety of textures of the depicted. But generalized, rough and exaggerated due to the technical solution of the painting, a hint at the difference in shapes, textures, volumes is given by the direction of the strokes, their size and the actual color.

Color in "Starry Night" plays a major role. The composition, dynamics, volumes, silhouettes, depth, light obey the color. The color in the picture is not an expression of volume, but a semantic element. Thus, due to the color expression, the radiance of the stars and the moon is exaggerated. And this color expression creates not just an emphasis on them, but gives them significance within the picture, creates their semantic content. The color in the picture is not so much optically accurate as it is expressive. With the help of color combinations, an artistic image, expressiveness of the canvas is created. The picture is dominated by pure colors, the combinations of which create shades, volumes and contrasts that affect perception. The borders of color spots are distinguishable and expressive, since each stroke creates a color spot, distinguishable in contrast with neighboring strokes. Van Gogh focuses on smears-spots, crushing the volumes of the depicted. So he achieves greater expression of color and form and achieves dynamics in the picture.

Van Gogh creates certain colors and their shades with the help of a combination of color spots-strokes that complement each other. The darkest places on the canvas are not reduced to black, but only to a combination of dark shades of different colors, creating in perception a very dark shade close to black. The same happens with the lightest places - there is no pure white, but there is a combination of strokes of white with shades of other colors, in combination with which white ceases to be the most important in perception. Highlights and reflections are not pronounced brightly, as they are smoothed out by color compounds.

We can say that in the picture there are rhythmic repetitions of color combinations. The presence of such combinations both in the image of the valley and the settlement, and in the sky creates the integrity of the perception of the picture. Different combinations of shades of blue among themselves and with other colors throughout the canvas show that it is the main color that develops in the picture. An interesting contrasting combination of blue with shades of yellow. The texture of the surface is not smooth, but embossed due to the volume of strokes, in some places even with gaps on a blank canvas. The strokes are clearly distinguishable, significant for the expression of the picture, its dynamics. Strokes are long, sometimes larger or smaller. Applied in different ways, but rather thick paint.

Returning to binary oppositions, it must be said that the picture is characterized openness of form. Since the landscape is not fixated on itself, on the contrary, it is open, it can be expanded beyond the borders of the canvas, which is why the integrity of the picture is not violated. The picture is inherent atectonic beginning. Because all the elements of the picture strive for unity, they cannot be taken out of the context of the composition or canvas, they do not have their own integrity. All parts of the picture are subject to a single plan and mood and do not have autonomy. This is expressed technically in composition, in dynamics, in color patterns, in the technical solution of strokes. Picture presents incomplete (relative) clarity depicted. Since only parts of the depicted objects (houses of the tree settlement) are visible, many of them overlap each other (trees, field houses), scales are changed to achieve semantic accents (the stars and the moon are hypertrophied).

Iconographic and iconological analysis

It is difficult to compare the actual plot of the Starry Night or the type of landscape depicted with the paintings of other artists, let alone put them among similar works. Landscapes depicting night effects were not used by the Impressionists, since lighting effects at different times of daylight hours and work in the open air were just important for them. Post-Impressionists, if they turned to landscapes not from nature (like Gauguin, who often paints from memory), they still chose daylight hours and used new ways of depicting lighting effects and individual techniques. Therefore, the image of night landscapes can be called a feature of Van Gogh's work (“Night cafe terrace”, “Starry night”, “Starry night over the Rhone”, “Church in Auvers”, “Road with cypresses and stars”).

Characteristic in Van Gogh's night landscapes is the use of color contrasts to emphasize important elements of the picture. The most commonly used contrast shades of blue and yellow. Night landscapes were mostly painted by Van Gogh from memory. In this regard, they paid more attention not to the reproduction of the real light effects seen or of interest to the artist, but emphasized the expressiveness and unusualness of light and color effects. Therefore, the lighting and color effects are exaggerated, which gives them an additional semantic load in the paintings.

If we turn to the iconological method, then in the study of the "Starry Night" one can trace additional meanings in the number of stars on the canvas. Some researchers associate the eleven stars in Van Gogh's painting with the Old Testament story of Joseph and his eleven brothers. “Listen, I had a dream again,” he said. “In it were the sun and the moon, and eleven stars, and they all bowed down to me.” Genesis 37:9. Given Van Gogh's knowledge of religion, his study of the Bible and his attempts to become priests, the inclusion of this story as an additional meaning is justified. Although it is difficult to consider this reference to the Bible as determining the semantic content of the picture, because the stars make up only part of the canvas, and the depicted town, hills and trees are not connected with the biblical story.

biographical method

Considering the "Starry Night", it is difficult to do without a biographical method of research. Van Gogh wrote it in 1889, when he was in the Saint-Remy hospital. There, at the request of Theo van Gogh, Vincent was allowed to paint and draw in oils during periods of improvement in his condition. Periods of improvement were accompanied by a creative upsurge. Van Gogh devoted all the available time to work in the open air and wrote quite a lot.

It is noteworthy that "Starry Night" was written from memory, which is unusual for the process of Van Gogh's creativity. This circumstance can also emphasize the special expressiveness, dynamics and coloring of the picture. On the other hand, these features of the picture can also be explained by the mental state of the artist during his stay in the hospital. The circle of his communication and the possibilities of action were limited, and the attacks occurred with varying degrees of intensity. And only during periods of improvement did he have the opportunity to do what he loved. During that period, painting became a particularly important way of self-realization for Van Gogh. Therefore, the canvases become brighter, more expressive and dynamic. The artist puts a lot of emotion into them, as this is the only possible way to express it.

It is interesting that Van Gogh, who describes in detail his life, reflections and his work in letters to his brother, mentions the "Starry Night" only in passing. And although by that time Vincent had already departed from the church and church dogmas, he writes to his brother: “I still passionately need - I will allow myself this word - in religion. Therefore, I went out of the house at night and began to draw stars.

Comparing "Starry Night" with earlier works, we can say that it is among the most expressive, emotional and exciting. Tracing the change in the manner of writing throughout his work, there is a noticeable increase in expressiveness, color load, and dynamics in Van Gogh's works. "Starry Night over the Rhone", written in 1888 - a year before the "Starry Night", is not yet filled with that culmination of emotions, expressiveness, color richness and technical solutions. You can also notice that the paintings following the "Starry Night" became more expressive, dynamic, emotionally heavy, more vivid in color. The most striking examples are "Church in Auvers", "Wheat field with ravens". This is how you can designate "Starry Night" as the last and most expressive, dynamic, emotional and colorful period of Van Gogh's work.